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Watercolour of seascape signed JS, image 9” x 13”, frame 16” x 20”

Mixed lot of assorted pictures to include oil on board of seascape

D Weston. Seascape with Viking longboat and warrior on horseback, oil on panel, signed and dated 1982, 51cm x 75cm.

Chris Geall (British 1965-): Seascape, oil on canvas signed 50cm x 50cm

19th Century seascape watercolour of waves lapping against a craggy headland, signed (appears to read as 'W. Rastes'), gilt framed and glazed, measures 51cm x 33cm

A quantity of prints to include Market Square Alston Cumbria, two beach scenes, floral prints, two woven on silk pictures, watercolour of a seascape, etc.

Two framed and mounted Watercolours, one of a seascape with sailing boat and dingy signed lower left Howard, the other of a fireplace, no visible signature.

An Oil on canvas impressionist of Seascape, a/f , 21 1/4" x 16 1/2".

JOANNE PRITCHARD,SEASCAPE,oil on board, signed,overall size 65cm x 72cm,Mounted, framed and under glass

J Owen framed oil on canvas seascape, signed bottom left, 40.5 x 51cm

Norman Stuart Clarke - A later 20th Century studio glass vase in the Seascape pattern, decorated with stylised waves against the iridescent ground, of shouldered ovoid form with collar neck, engraved signature and dated 1988, height 20cm.

Norman Stuart Clarke - A later 20th Century studio glass vase in the Seascape pattern, of compressed ovoid form with everted rim, decorated with stylised waves against the iridescent ground, engraved signature and dated 1992, height 9cm.

Isle of Wight - A contemporary studio glass lollipop vase in the Seascape pattern, of compressed ovoid form with slender neck, decorated with panels of tonal blue and random whiplash lines to an opal and gold mottled ground, unmarked, height 16cm.

Frederick James Aldridge (1850-1933)Seascape with shipping, signed, oil on canvas board, 19.5 x 34cm

* Boyce (George Pryce, 1826-1897). Study of a young Welsh man resting, 1855, pencil drawing on wove paper of a male figure half-reclining against a manger, wearing a jacket, patched trousers, and a bowler hat, with his feet bare, various pencil annotations in the artist's hand pertaining to colours and detail, initialled in pencil lower left corner, further annotated by the artist lower right 'Tan Rallt [North Wales] Octr 11.'55', sheet size 25.4 x 17.6 cm (10 x 7 ins), together with 3 other pencil drawings on wove paper by Boyce: the first of Welsh mountains, with artist's annotations regarding hues, inscription lower right 'Moel Siabod. Sept.55', and on verso artist's further notes ' ... cropping out of grey yellow-green herbage & reddish-grey broken earth ... ', sheet size 12.8 x 19.8 cm (5 x 7.75 ins); a Channel Island seascape titled lower right 'From Mont Orgueil, Jersey 22.5.53', sheet size 13 x 26 cm (5 1/8 x 10 1/4ins); and a view of a timbered house with figures, initalled by the artist in pencil lower right, and annotated upper right 'Aug.22.1845. Comberton House, Herefordshe', sheet size 9.7 x 17.6 cm (3 7/8 x 7 ins), and a pen & ink drawing on wove paper of a windmill by Boyce, inscribed lower right in pencil 'Cricklewood. Augt 9.1847', sheet size 11.6 x 9.1 cm (4 5/8 x 3 5/8 ins)QTY: (5)

* Le Vasseur (Peter, born 1938). The Highwayman, 1965, gouache on board, depicting a sleeping man wearing a mask resting against a tree, two guns lying in the grass on either side of him, a tacked up horse standing close by, an approaching coach in the distance, signed and dated upper left, 36.5 x 53.5 cm (14 3/8 x 21 ins), framed (51.5 x 67.5 cm), together with:Seascape with Mermaids, 1965, gouache on paper laid onto board, depicting three reclining mermaids in a beachscape, signed and dated upper left, 28.4 x 40.6 cm (11 1/7 x 16 ins), framed, (48 x 60 cm) plusGirls, Clowns and Sunken Cannon, 1964, gouache on paper laid onto board, depicting two showgirls standing on a beach with a clown, elephant and handler in the background, in the foreground a sunken cannon points towards them, signed and dated upper left, some marks, 35.5 x 16.5 cm (14 x 6 1/2 ins), mounted (49.5 x 30 cm) QTY: (3)

FOLDER OF 3 UNFRAMED WATERCOLOURS, TWO OF FIGURES AND ONE SEASCAPE

VIN TAGE OIL ON BOARD SEASCAPE

OIL ON BOARD SEASCAPE SIGNED MARKEY

Harry J Williams:  dramatic seascape, watercolour, signed and dated 1878, 30 x 47cm, framed; J Barnes:  marshland scene with distant hills, watercolour, signed and dated 1900, 25 x 25cm, framed

HARVEY CROSSLEY oil on board - a dock scene, signed and dated '76, 48 x 60cms, R J SIMES oil on board - Mersey seascape, signed and label verso, titled 'Claughton 3', 25 x 33cms, C SANDERSON oil on canvas - boatside and boat hut at water's edge, signed and dated '82, 34 x 45cms and ROSSER oil on board - landscape scene, signed, 28 x 35cms

Frank Lewis Emanuel, oil on canvas, seascape with various shipping under a grey sky, signed and dated 1918, 26ins x 28.25ins, framedIn good condition

20TH CENTURY SCHOOL, 'Seascape with flight of birds', oil on canvas, 40cm x 50cm, framed.

IVAN AIVAZOVSKII (RUSSIAN 1817-1900)Tranquil Seascape,1893oil on canvas 32.4 x 40.3 cm (12 3/4 x 15.7/8 in.) framed dimensions:signed in Cyrillic and dated 'Aivazovskii 1893' lower rightPROVENANCEChristie's New York, 16 December 1998, lot 27Acquired at the above by the present owner

YURI SEMASH (RUSSIAN 1948-2010)Seascape,1986oil on canvas97.75 x 122 cm (38 1/2 x 48 in.)signed, dated and titled on verso

Edward Tucker, 1825-1909, seascape figures in boat, signed, watercolour, 27 x 39cm, bearing a label for The Burford Gallery

W Sita, Dutch Seascape, oil on board, signed bottom right,19.5cm x 40cm, framed.

Caroline McMillan Davey (British, 20th/21st century), Seascape, oil on canvas, 40cm x 80cm, framed.

Janet Rawlins (b.1931)Landscape with cottageSigned, collage, together with a further seascape collage by the same hand, 24cm by 24cm (2)

HELEN FRANKENTHALER (1928-2011)Untitled circa 1958-1961 signedoil on paper laid on canvas68 by 104.5 cm.26 3/4 by 41 1/8 in.This work was executed circa 1958-1961.Footnotes:ProvenancePrivate Collection, SwedenSale: Sotheby's, New York, Contemporary Art Part II, 2 November 1994, Lot 125Chac-Mool Gallery, Los AngelesAcquired directly from the above by the previous owner in 1999Thence by descent to the present ownerInspired by a fervent period of artistic experimentation after the Second World War, a fresh generation of American artists broke away from the genre of landscape and historic paintings which dominated in the early decades of the twentieth century. Helen Frankenthaler, Sam Francis and Kenneth Noland were amongst this new generation of artists who shared the visual vocabulary of abstraction and Bonhams is delighted to present a wonderful selection of six works by the artists from a Private Family Collection from a Knightsbridge Residence.A master of Abstract Expressionism, Helen Frankenthaler created a singular visual vocabulary over her six-decade career. A New York native, Frankenthaler received her earliest art instruction from Rufino Tamayo and fraternised with other New York School artists including Grace Hartigan, Willem de Kooning, Jackson Pollock, Lee Krasner and Robert Motherwell amongst others. Untitled (circa 1958-1961) was created during a formative period in Frankenthaler's career, only a few years after she created her breakthrough piece Mountains and Sea in 1952 and invented her 'soak-stain' technique. Using this technique, Frankenthaler would pour or drip turpentine-thinned oil paint over an unprimed canvas. Untitled from 1994 hails from the last decades of Frankenthaler's career, a period when the artist's confident and virtuosic approach to colour is evident from the nuanced layers of green followed by touches of magenta and yellow. Both pieces embody the intimate and kinetic quality to Frankenthaler's oeuvre; whilst the pigmented, organic forms in the earlier work are reminiscent of the 'push and pull' compositional format in Hans Hoffman's works, despite the translucency of the hues in Untitled from 1994, there is a palpable dimensionality which pervades the entire surface. In Lot 2 the different shades of oil paint unfurl and collect into darker and lighter pools as they are poured across the canvas. The nebulous, uncontrolled shapes within the scene alludes to Frankenthaler's major source of inspiration - throughout her career, Frankenthaler was fascinated by natural landscapes and by the idyllic forested hillsides of the Northeastern United States. Parts of the canvas are left bare to emphasize the gestural nature of the composition and the texture of the artist's brush. The natural element in Lot 6 is heightened further by the handmade paper the artist incorporates into the work. Upon closer inspection, the mix of blue, white and grey hued plant fibres is apparent. The naturally undulating edges of the paper complement the spontaneity of how the wet pigments bloom across the paper to create suggestions of a seascape on a windy day. In many examples of Frankenthaler's work, the sense of push and pull is heightened by the halo effect created by pigments travelling towards the periphery of the wet surface or separating from the oil paint medium. All three works in this outstanding collection are a testament to Frankenthaler's openness to experimentation and honest approach to painting, a process which allowed the artist to constantly start each work with a renewed and inquisitive perspective. Each one of these artist's pioneering artistic practices contributed to the Colour Field Abstraction movement. In Sam Francis's canvases there is a lyrical fluidity to the composition and colour is enhanced by ample negative white space. These techniques were inspired by Francis's encounters with Tachiste artists in Paris and Zen calligraphers in Japan in the 1950s and 1960s respectively, and can be seen in For Baudelaire from 1985 and Untitled from 1983. Kenneth Noland's approach centred around rhythmically arranged patterns of colours, clean lines and geometric shapes. A seminal moment in Noland's career was his visit to Helen Frankenthaler's studio in 1953 where he witnessed her technique of staining her canvases with heavily diluted paint.In these six works by Post-War American artists Helen Frankenthaler, Sam Francis and Kenneth Noland, there is an immortal freshness and an acute sensibility to the interplay of colour, light and textures. Helen Frankenthaler and Sam Francis are amongst the most important names in Colour Field Painting whilst Kenneth Noland went on to pioneer the Hard-edge Painting movement. Their works can be found in the collections of some of the most prestigious international institutions including the Museum of Modern Art, New York, the Centre Pompidou in Paris, the Tate Gallery in London and the Peggy Guggenheim Collection in Venice amongst many others.For further information on this lot please visit Bonhams.com

Julian Klein Von Diepold (1868-1947), Coastal Seascape, watercolour, signed lower right, 14 x 11in. (35.6 x 27.9cm.)

* JOHN MCGHIE (SCOTTISH 1867 - 1952),CALVA BAY, IONAmixed media on paper, signed image size 38cm x 52cm, overall size 57cm x 71cm Framed and under glass.Label verso: James McClure & Son, Glasgow. Provenance; Sotheby’s, Lot 171, 28th April 1992, lot sticker verso.Note: John McGhie was born near Lanark, Scotland in 1867. McGhie began his education at the Glasgow School of Art where he remained for one year before receiving a scholarship to study at the Royal Academy Schools. His time at the Royal Academy Schools in London under the tutelage of the late John Everett Millais proved to be both instructional and inspiring. Upon graduating from the RA Schools McGhie travelled to Paris to continue his artistic education at the Ecole des Beaux Arts. Whilst in France, the artist was witness to many vibrant and increasingly changeable artistic movements. The effect of his traditional British education combined with the ambitious, Impressionistic sway of France encouraged McGhie to explore a distinct style of representation upon his return to his native Scotland in 1904. Settling in the fishing village of Pittenweem on the Firth of Forth, McGhie began to represent the sea and landscapes around him. Life in the fishing village proved to be a source of great inspiration to the artist, who later began to capture the people and fishermen of his adopted home in his work. McGhie was a celebrated seascape artist, and became known as an accomplished portraitist in the early 1910s. His work was widely exhibited in both Glasgow and London, and the artist first participated in a Royal Academy exhibition in 1911. McGhie enjoyed great success throughout his long career. His joy in, and talent for, painting the sea views and working people around him en plein air encouraged his artistic approach to develop considerably, his colour palette and swiftness of brushwork inspired by the changeable coastal scenery in which he revelled.

* JOHN MCGHIE (SCOTTISH 1867 - 1952),A FISHER GIRL, ELIEoil on canvas, signedimage size 60cm x 50cm, overall size 81cm x 71cm Framed.Provenance: Exhibited Royal Glasgow Institute (RGI) 1940 catalogue no 180.With St Andrews Fine Art, Market Street, St Andrews.Note: John McGhie was born near Lanark, Scotland in 1867. McGhie began his education at the Glasgow School of Art where he remained for one year before receiving a scholarship to study at the Royal Academy Schools. His time at the Royal Academy Schools in London under the tutelage of the late John Everett Millais proved to be both instructional and inspiring. Upon graduating from the RA Schools McGhie travelled to Paris to continue his artistic education at the Ecole des Beaux Arts. Whilst in France, the artist was witness to many vibrant and increasingly changeable artistic movements. The effect of his traditional British education combined with the ambitious, Impressionistic sway of France encouraged McGhie to explore a distinct style of representation upon his return to his native Scotland in 1904. Settling in the fishing village of Pittenweem on the Firth of Forth, McGhie began to represent the sea and landscapes around him. Life in the fishing village proved to be a source of great inspiration to the artist, who later began to capture the people and fishermen of his adopted home in his work. McGhie was a celebrated seascape artist, and became known as an accomplished portraitist in the early 1910s. His work was widely exhibited in both Glasgow and London, and the artist first participated in a Royal Academy exhibition in 1911. McGhie enjoyed great success throughout his long career. His joy in, and talent for, painting the sea views and working people around him en plein air encouraged his artistic approach to develop considerably, his colour palette and swiftness of brushwork inspired by the changeable coastal scenery in which he revelled.Condition is good overall, with no visible issues.

Mixed pictures to include a watercolour seascape depicting sailing boats, initialled A M to one corner Location:

Carl Ludwig Bille (German, 1815-1898) oil on canvas sailing ships in a moonlit seascape, signed and dated 1881 lower right, with details verso, 31 x 45cm, in gilt frame

OIL ON BOARD ROONEY SEASCAPE 12'X8.5'

Ernst Eisenmayer, Austrian/British 1920-2018 - Seascape - Stormy, 1963; oil on canvas, signed lower right 'Eisenmayer' and signed, titled and dated on the reverse 'Eisenmayer Seascape - Stormy 1963', 50.8 x 60.9 cm Please refer to department for condition report

Ernst Eisenmayer, Austrian/British 1920-2018 - Seascapes, 1959; oil on canvas, signed with initials, titled and dated on the reverse 'E E Seascape 1959', 50.8 x 76.5 cm (unframed) Please refer to department for condition report

Ernst Eisenmayer, Austrian/British 1920-2018 - Seascape, 1964; oil on canvas, signed and dated lower right 'Eisenmayer 64', 51.1 x 66.4 cm (unframed) Please refer to department for condition report

Victor Georg Kuhnel, Danish 1889-1971 - Seascape with sailboat in the waves, 1937; oil on canvas, signed with initials and dated lower right 'VGK 37', 46.6 x 59.5 cm: together with another work by the same artist, 'Clay Pit in Snow', oil on canvas, signed with initials lower right 'VGK', 55 x 69.5 cm (2) (ARR) Please refer to department for condition report

Haida, Canadian carving of fish in a seascape, 13cm long.

Edward William Cooke R.A. (1811-1880) 'Seascape' oil on canvas, 26cm x 36cm, in original gilt frame.

S. West - A 20th century oil on board seascape painting to depict an estuary as viewed from within the harbour breakwater with boats and shoreline in the distance. Signed S. West to right hand corner. Framed and glazed. Measures 57cm x 47cm.

A vintage 20th century oil on canvas seascape painting to depict a flotilla of fishing boats anchored at sea. Signed L. Blake to lower left corner. Held within an ornate gilt frame. Measures 70cm x 60cm.

Sheila Macleod Robertson (b. 1927) A 20th century oil on board seascape painting by British artist Sheila Macleod Robertson. Measures approx. 52cm x 70cm.

Sheila MacLeod Robertson (b.1927) - A 20th century oil on board seascape painting by British artist Sheila Macleod Robertson. The scene to depict beach scene at low tide with figure stood at the shoreline and cliff face in the distance. Framed and signed.  Measures 54cm x 44cm. 

A gilt framed oil on board study of seascape an Arthur Jones oil on board study of a river scene

Carl Kenzler (1872-1947), oil on board - Seascape, signed and inscribed Berlin, 38 x 54cm, in gilt frame Provenance: bought out of Germany in 1938 by the vendors late parents thence by family descentThere appears to be a type of mildew or foxing to the surface - see images. A couple of surface marks which are more visible if the light catches them, again see images. The work has a very good light to it.

Ovell (?), Ralf, BremenDarstellung des Segelschulschiffes "Niobe" (1913-1932). Öl auf Leinwand, (20)08, rechts unten signiert und datiert sowie ortsbezeichnet (Bremen). Gerahmt, 80 x 107 cm (Ra), Rahmen beschädigt, zwei winzige Löcher in der Leinwand. Ovell (?), seascape with painting of the sail training ship "Niobe". Oil on canvas. Signed, dated and location. Framed. Frame damaged, two tiny holes in the canvas.

ART - G MILLER - SEASCAPE AT SUNSET FRAMED AND GLAZED WATERCOLOUR  74x44cm including frame and mount. (Please see our terms and conditions re framed and glazed items). An attractive early 20th century watercolour by G Miller. Slightly faded.  

Alexander Mortimer (1885 - 1913) Oil on Canvas Seascape, signed and dated Alex Mortimer 1913, 74cm x 49cm, framed

Alfred George Webster (British ?-1894): Seascape, watercolour signed together with three 19th century watercolours max 17cm x 24cm (4)

Douglas McCloud (1892-1963)''Valencia Beach''Signed in pencil, etching, together with two other works by the same artist, a further etching of a woman and cat, a coloured etching seascape ''The Ground Silence'' and an etching after Maurice Langaskens (6)

Gustave De Breanski (1856-1898), seascape, oil on canvas, signed, 68 x 49 cm, Swan Gallery label versoVarious visible repairs on the back, has been recently cleaned

J Jebson, oil on canvas, seascape with crashing waves, 11.5ins x 23.5ins, together with another oil on canvas, view of sea with boats and cliffs, 18ins x 21.5ins

British School, late 19th Century, a seascape with sailing vessels, a figure in the foreground and castle ruin beyond, oil on panel, 12 by 29cm, gilt frame

J. Visser. Second half of the 20th century. Seascape with clipper. Oil on linen. Dimensions: H 60 x W 50 cm. In good condition.

Large 18th century Chinese porcelain Queng Lung meat dish with garden/seascape decor. Dimensions: 33 x 41.5 cm. In good condition.

MARION DONALDSON (SCOTTISH CONTEMPORARY)  FOUR VARIOUS WORKS  To include three oil on canvas, Seascape & two figurative studies, with a further framed landscape, 60 x 80cm (largest) (4) Condition Report:Available upon request

MEISSEN; a 19th century hand painted chocolate cup with cover, with rose finial and matching saucer, each hand painted with vignettes of figures and seascape, within a quatrefoil gilded border, gilt-heightened throughout, blue crossed swords to the base of the Marcolini period. CONDITION REPORT: No signs of chips, cracks, hairlines or restoration.